• Journal of architectural history
• /
• v.7 no.4 s.17
• /
• pp.151-163
• /
• 1998

This Study is concerned with the color design of Korean and Japanese wooden architecture. The main subject of the study is to investigate the commonness and difference of color decoration between Korean and Japanese Buddhist 'Danchung' in the modern ages. In carrying this study into execution, I examined the architectural and historical backgrounds, and analysed the elements, techniques and principles of color design. The result of this study is as follows ; 1. 'Danchung' was originated from the practical functions in Chinese wooden architecture, and developed to embody sensuous beauty in Buddhist temple. The techniques and principles of color design and color tone of Korean and japanese Danchung had been similar in the ancient ages. But little by little they have differed in its function and color tone. So they are very different in modern times. 2. The dominant colors of Korean Danchung are red and green as 'Sang-nok Ha-dan(上綠下丹)', but Japanese's is only red as 'Bak-gan Juk-sun(白間赤線)' 3. Korean Danchung expresses and accentuates the important structural elements in three dimensions, on the other hand japanese Danchung takes two dimensional decoration on the unstructural elements 4. When seen in general, in Korean Danchung colors and their light and shade are simple and patternized. In the meantime, Japanese Danchung has many configurational expressions in general and is closed to paintings or picture.

• Journal of the Korean Society of Costume
• /
• v.50 no.4
• /
• pp.73-87
• /
• 2000

The court dancing suit, so-called "JeongJae(呈才) suit," has been worn by court dancers on the occasion of the royal court′s feasts or festivals such as auspicious events of a country, court banquets, and parties or receptions for national quests from foreign countries. There are 53 kinds of court dancing suits, ranging from the age of the ancient Three Kingdoms to the period of Chosun Dynasty. The court dancing suits are divided into two styles : DangAk-JeongJae(唐樂呈才) style and HyangAk-feongjae(鄕樂呈才) style, depending on dancing styles. Since the court dancing suits in the age of the ancient Three Kingdoms and Koryo Dynasty have already been studied previously, this study discussed the change of dancing suit styles created in the latter period of Chosun Dynasty, such as YukHwaDae(六花隊), MuSanHyang(舞山香) and ChoonAengJeon(春鶯), and the thought of Yin-Yang and five elements(陰陽五行思想) that the colors of the court dancing suits imply. The purpose of this study is to understand the thoughts contained in the ancient suits as well as their styles in order to inherit and uphold our traditional culture properly.

• Journal of the Korean Society of Costume
• /
• v.59 no.1
• /
• pp.29-46
• /
• 2009

Aiming at finding symbolistic meanings and characteristics of makeup in Chinese Beijing Opera("BO"), this study formulated a theoretical framework mainly from literature in the Symbolism and symbolistically analyzed materials related to BO makeup from literature, internet web pages and illustrated news concerning performing arts. Main objects to analyze are the characteristics of four main roles in BO and the patterns, symbols, ornaments and traditions of Beijing Opera facial makeup("BOFM"). Four main roles are Sheng, Tan, Ching and Chou, categorized by gender, age, social position and personality. The result to analyze symbolistic meanings and characteristics of makeups for the roles in BO are as follows: the patterns and colors of BOFM function as explanations to help audiences understand each role's personality and dramatic situations as well as provide hints about the development and ending of an opera: that is, BO makeup is a communicative intermediary between audiences and actors in BO. It tends to follow the stereotypes, which conventionally dress and exaggerate the characters of roles, and copy the traditional Chinese perception about colors. Thus, by the metaphysical and typical expression of BOFM, Chinese people have not been pursuing the realism in opera but applying BO makeup to a mutual communication method between audiences and performing artists as to share their collective cultural heritages and spirits. Threfore, BO makeup has been an interacting language between the two entities and grown within the history of BO as a beauty art to highlight a BO by its unique systems, ornaments and beauty.

• Journal of the Korean Society of Costume
• /
• v.64 no.5
• /
• pp.141-153
• /
• 2014

Buddhist articles from various periods in the Vairochana Buddha statues, which are currently housed in the Haeinsa Temple's Supreme Buddha Hall and Beopbojeon Hall. This research concentrates on the artifacts found inside the storage boxes, which was placed inside the Buddha statues in 1490. A total of 24 pieces of fabric articles found inside the Virochana Buddha in Beopbojeon and 213 pieces from the Supreme Buddha Hall were examined. The types of textiles are as follows: bast fiber, silk, cotton, and union cloth. Bast fiber consisted of ramie and hemp. For silk, tabby woven with plain weave, spun silk, and thin tabby were found. And twill damask made with twill, Sa and Ra with the leno weave, and satin damask made with the satin weave were also found. Also the two Jeogoris and three Jogakbos were found, the one Jeogori was made with Hwan. The Buddhist articles in the Vairochana Buddha of Haeinsa have been preserved well and its colors have remained virtually the same from the time of its original placement. Therefore these articles are very important in understanding the textile characteristics, weaving techniques, dying techniques as well as traditional colors.

• International Journal of Costume and Fashion
• /
• v.10 no.2
• /
• pp.37-49
• /
• 2010

The Samguk-yusa(三國遺事) is one of the two classics of Korean ancient history together with the Samguk-sagi(三國史記); however there has not been any positive attempt to analyse clothing culture centering on the Samguk-yusa until now. Thereupon, this study aims to find the records related to fabrics, color and fashion appearing in the Samguk-yusa, and to analyse the fashion culture of the three kingdoms projected in the Samguk-yusa, referring to the Samguk-sagi and ancient Chinese reference books. According to the records in the book, the fabrics used for clothing of those days included Jikgeum-wimun(織錦爲紋), Geum(錦), Chaebaek(彩帛), Osaek-geumchae(五色錦彩), Geumbaek(錦帛), Geumsam(錦衫), Ma(麻), Neung(綾), Geum-su-neung-ra(錦繡綾羅), Poh(布), Daecho, Bira-geumjeom(緋羅金點), Gyeon(絹). Japchoe(雜綵), Robtyeom(羅緋染). Chimilpoh(緻密布), Gi(綺) and Whan(紈), and they had colors such as brown black(緇), black(黑), purple(紫), yellow(黃), blue(碧), clear white(素), white(白), five colors(五色). There is substantial amoung of report on Buddhism, and the terms used for Buddhist clothing included Beobeui(法衣), Nabeui(衲衣), Bangpoh(方袍), Gasa(袈裟) and Yueui(由衣). It is also ascertained that Gasa had a variety of Bira-geumjeom-gasa(緋羅點袈裟), Manap-gasa(摩納袈裟) and Geumra-gasa(金羅袈裟).

• Journal of The Korean Astronomical Society
• /
• v.31 no.1
• /
• pp.51-65
• /
• 1998

We present B VRI CCD surface photometry for the central $(6'.35\times6'.35)$ regions of the dwarf elliptical galaxies NGC 185 and NGC 205 in the Local Group. Surface brightness profiles of NGC 185 (R<225') and NGC 205 (R<186') show excess components in the central regions. The colors of NGC 185 get bluer inward at R<25', while they remain constant at $R\geq25'$. The colors of NGC 205 get bluer inward at 1'$\approx10^5\; L_\bigodot$. Distributions of dust clouds in the central regions of the two galaxies are also investigated.

• The International Journal of Costume Culture
• /
• v.13 no.1
• /
• pp.51-61
• /
• 2010

The purpose of this research was to investigate the effects of clothing style and color of male casual wear on image perceptions and age evaluations. $4{\times}2$ (top color${\times}$trouser color) and $2{\times}3{\times}2$ (clothing style${\times}$clothing hue${\times}$clothing chroma) factorial designs were used as the experiment designs. Photoshop program was used to manipulate the clothing colors after creating photos of models wearing experiment clothing for stimulus. Subjects were 280 female college students from Seoul region and each subject responded to two stimuli. Factor analysis showed four factors of images of male casual wear; sociability, conspicuousness, softness and masculinity. Polo shirts were evaluated higher in sociability and softness than jumpers and nary blue trousers were evaluated higher in masculinity than beige trousers. High chroma clothing was assessed higher in sociability and conspicuousness than low chroma clothing. High chroma red jumpers displayed very sociable feel and low chroma blue jumpers displayed the lowest sociability. High chroma male clothing resulted in younger age perception but age was evaluated young when a black shirt was worn under the jacket when wearing a low chroma jacket.

• Journal of the Korean Society of Costume
• /
• v.27
• /
• pp.207-217
• /
• 1996

The purpose of this study were to find ethnic fashion's background in the late period of 20th century to compare the World ethnic with the Korean ethnic through content analysis and to identify Korean ethnic of the world fashion Eth-nic fashion started at orientalism by Poiret in the 1910s advancing to African ethnic & Hippy fe-ver in 1960s-70-s have emerged variously with ecology in 1980s-90s' fashion trend. The next the present research analyzed the world ethnic and the Korean ethnnic. The identified 517 fashion photograph from fashion magazines were categorized into two areas: the trend of ex-ternal growth and ethnic fashion's origins/designers wearable situation colors fabrics/pattern. The result were as follows :First eth-nic fashion's external growth of both the World ethnic and the Korean ethnic were incresed. Sec-ond in the ethnic fasions' origins/designers while the World ethnic were almost the same rate between Asian and European ethnic by many designers the Korean ethnic were limited to Asian ethnic Third in the ethnic fashion's wearable situation while the World ethnic were variously wearing the Korean ethnic were lim-ited to work of collection. Forth in the ethnic fashion's colors the Korean ethnic were limited to white color. Last in the ethnic fashions' fabrics/patterns If the Korean ethnic would become a world of ethnic would become a world of ethnic fashion it should be deviced practival abrics and modernized patterns.

• Journal of the Korean Society of Costume
• /
• v.32
• /
• pp.243-259
• /
• 1997

The object of this research is to inform readers of the chronikal change of Military Uniform in wars how the features and colors of uniforms have been changed along with the innovations of firearms. Military uniforms can be put into two differ-ent categories which are 'Battle wear' and 'Rank wear' A battle wear features of protec-tion and user fiendliness, These features of a battle wear can possibly minimize injuries and help increase the level of battling perform-ance. On the other hand a rank wear help dis-tinguish soldiers from their ranks and posi-tions. A rank wear symbolizs the pride that soldiers take n their unit and by wearing a rank wear soldiers feel more attached to their collegues and unit. Concrete process of military uniforms is as follows. 1. As firearms were innovated corres-pondant innovation of military uniforms were also needed this innovation were in the formstructure design color etc. 2. In the beginning features of military uniforms changed toward protection and then after social status of solders rised features changed forward show-off Finally as firearms became more fortal camouflage became the most significant feature of the military uniforms. 3. During war colors of military uniforms tended to be a means of show -off and camou- flage and while not in war they functioned as symbol which represent froops and the unit is tradition. 4. Other accessaries support the perforance and the symbolical function of uniforms.

• Journal of Fashion Business
• /
• v.17 no.6
• /
• pp.158-175
• /
• 2013

The purpose of this study is to provide basic information to Korean fashion designers who wish to advance to the overseas collection. This is done through analyzing the design characteristics of Japanese young fashion designers, Tsumori Chisato, Commuun, and Limi Feu, who have successfully launched their designs into the Paris collection and became global fashion brands. Collections of each brand were analyzed by the overall fashion style and design elements. For the overall fashion style, Tsumori Chisato used a romantic style using details with various ornaments, whereas Commuun shows minimal style with a simple silhouette. Limi Feu expressed avant-garde style with experimental patterns. Moreover, these brands expressed different style to other brands by applying Japanese traditional clothes, patterns, and Japanese techniques in modern view point. In terms of design elements, these three brands used the H-line silhouette. Tsumori Chisato used loose fit; Commuun, slim line; and Limi Feu, boxy silhouette. In the case of colors, materials, patterns and details, Tsumori Chisato showed mix & match with various colors, materials, patterns and details. Commuun used mono tone with black & white using only one or two materials. Limi Feu usually used the color black with cotton. According to the style of the brand and region of the collection, the main characteristics of the design and the application of Japanese traditional elements can be different.